Showing posts with label Studio: Palisades Tartan. Show all posts
Showing posts with label Studio: Palisades Tartan. Show all posts
REVIEW: DVD Release: War
Film: War
Release date: 21st February 2011
Certificate: 15
Running time: 120 mins
Director: Aleksei Balabnov
Starring: Aleksey Chadov, Ian Kelly, Ingeborga Dapkunaite, Sergey Bodrov Jr.
Genre: Action/Drama/War
Studio: Palisades Tartan
Format: DVD
Country: Russia
Directed by the popular Russian filmmaker Aleksei Balabanov, best known for his 1997 film Brother, War is a tale of revenge in war-torn Chechnya. The film's main themes were thrown into the international limelight, not long after the its original release in 2002, following an incident in which a Moscow theatre was held hostage by Chechen rebells. Controversially, Special Forces used gas in a heavy-handed attempt to immobilise the Chechen captors, resulting in the death of over one hundred hostages. In light of such events, War's militaristic themes have been criticised by some, whilst its lack of a disconnected and sanitised depiction of war has been positively received by others.
On tour in Georgia, British actor John Boyle (Ian Kelly) and his fiancée Margaret (Ingeborga Dapkunaite) are captured by Chechen rebels. Having witnessed the brutal murder and beheading of two Russian soldiers, both are thrown into a cellar and held hostage, alongside a Russian conscript named Ivan (Aleksey Chadov). However, when the Chechen rebel leader realises his captors' ransom money is unlikely to materialise any time soon, he releases John to raise two million pounds in order to secure the release of his fiancée, Margaret. The Chechen leader also frees Ivan as a gesture of goodwill, but makes it clear that if John fails to raise the ransom money within two months, his fiancée will be raped and killed.
Whilst John travels to Britain, raising a relatively small sum of money, Ivan returns home. With no money, his father ill in hospital and no job, Ivan finds himself in the position of many post-war Chechnya veterans. Having nothing to lose, Ivan agrees to help John return to Chechnya, in order to save his fiancée…
In many respects, the plot sounds alarmingly similar to many terrible Hollywood action films, in which the characters fight off countless two-dimensional ‘bad guys’, blow up a few vehicles and save the day; not to mention becoming lifelong buddies thanks to the experience. Thankfully, War avoids these pitfalls and is anything but a predictable action film. With a striking sense of realism and lack of sentimentality, War is gritty and surprisingly sophisticated in its handling of a topic that is little discussed in film.
The range of characters that are brought together by the film's script offer an interesting range of perspectives. On the one hand, there's the tough Russian conscript, Ivan; unflinching in the face of death. On the other is the extremely timid British actor John, who never really seems to grasp the nature of the situations he finds himself in. However, in contrast to the aforementioned characters, the Chechen rebels are portrayed as stereotypical religious fanatics, with little depth beyond their merciless acts of decapitation. That said, this depiction of the rebels appears to be ironic in nature, an attempt on behalf of the director to reflect the views held by many Russians (after all, the film is narrated by Ivan).
Surprisingly, the film's action sequences are rather muted and are unlikely to get your heart pounding. But, in a way, this is what makes War a rather impressive action film. The action sequences, whilst anything but visually arresting, add a sense of realism that is not achieved by many films of this genre. Many scenes are long and drawn out, and offer nothing in the way of a satisfying resolution. This is the one aspect of the film that is most likely to divide viewers and, most importantly, what separates it from many modern action films.
Whilst the action sequences may be slow, the film does feature many notable shots and some stunning cinematography. From beautiful, mountainous backdrops to impressive tracking shots, Balabanov cannot be said to have created a film which is visually unsatisfying. Thanks to the film's extraordinary sense of realism, many shots which otherwise may be of little interest are particularly memorable. A scene in which John and Ivan roll a Jeep over the edge of a cliff, sending it crashing down the cliff face, is particularly memorable (if not for its beauty, then for the fact that it doesn't explode into flames).
Another point to note is the documentary-like feel of various scenes. Many scenes are shot using low quality camcorders, sometimes alternating between hand-held cameras and more conventional shots, providing a far more personal view of the events unfolding on screen. Most importantly, the director manages to pull this off without cheapening the overall feel of the film.
Many of the actors also offer some decent performances, although none can be described as 'exceptional'. Ian Kelly proves rather amusing as the timid Brit who, upon being captured and beat, informs his captors that they are not respecting his human rights. The transformation of his character, who appears far more focussed in a war situation by the end of the film, is also interesting. This is comically illustrated in a latter scene, in which John sits beside his distraught wife, apparently “pumped up” following the experience of combat, blissfully unaware of the trauma his wife has endured.
War is a breath of fresh air to a genre that can often lack imagination. Balabanov never sacrifices his characters to ostentatious action sequences which are detached from reality. Instead, the film explores a conflict that is rarely depicted in film and offers an interesting mix of drama and action. It may not be a groundbreaking film, but it's certainly an impressive addition to its genre. ME
NEWS: DVD Release: War
Exclusively available at Sainsbury’s from 21st February 2011.
Explosive and controversial, Aleksei Balabnov’s powerful film features extreme and realistic action sequences interlaced with dramatic tension, as good people fight to see loved ones returned safely home
On tour in Georgia, a British actor and his girlfriend are captured by Chechen rebels. Several Russian prisoners are also taken captive, and the group is transferred to a remote village in Chechnya.
Thrown into a hole that contains several Russian conscripts, the British couple are held ransom. When the ransom doesn’t materialise, the actor is released in order to raise cash in Britain. Upon his return, he meets a conscript who is also desperate to save another captive, and the two join forces.
Enlisting the aid and muscle of the Russian military, the two head back to the Chechen village and wage a two-man assault that will soon become an all-out war!
Film: War
Release date: 21st February 2011
Certificate: 15
Running time: 120 mins
Director: Aleksei Balabnov
Starring: Aleksey Chadov, Ian Kelly, Ingeborga Dapkunaite, Sergey Bodrov Jr.
Genre: Action/Drama/War
Studio: Palisades Tartan
Format: DVD
Country: Russia
DVD Special Features:
• Behind the scenes
• Original trailers
• TV spots
REVIEW: DVD Release: Ghosts Of War
Film: Ghosts Of War
Release date: 17th January 2011
Certificate: 15
Running time: 101 mins
Director: Kong Su-chang
Starring: Kam Woo-Seung, Son Byung-ho, Oh Tae-kyung, Park Won-sang, Lee Seon-gyun
Genre: Action/Drama/Horror/Thriller/War
Studio: Palisades Tartan
Format: DVD
Country: South Korea
It almost sounds like any schoolboys dream: war and horror in one package. However, watching this supernatural Vietnam War movie is much more of a nightmare than a dream, but in the best possible way. The movie was released in Korea in 2004, with the title R-Point, and is the fourth highest grossing Korean horror film of all time. It is now being released here on DVD as Ghosts Of War, exclusively available from Sainsbury’s.
After a mysterious radio message is received, a group of nine South Korean soldiers are sent in search of a patrol that went missing six months earlier at a remote outpost known as R-Point.
The soldiers are told during their briefing that the area is safe and that they shouldn’t encounter any Viet-Cong. Their mission is to stay in the area for five days and look for the missing troops, and in return they will all be allowed to return home to their families.
Upon their arrival on the island, however, strange things start to happen, and the simple mission becomes a terrifying struggle for survival...
At a first glance, Ghosts Of War might seem like any other haunted house movie, but simply set during a war. There is very little in the way of war action, the film instead playing more with suspense and atmosphere. Also, being a ghost story, there are hardly any guts and gore on show. However, Ghosts Of War manages to maintain a strong sense of intrigue and fear throughout. Unlike many haunted house style movies, they don’t just have to stay there for one night, which gives the atmosphere and intensity much more room to develop.
Many people have been surprised to discover a South Korean Vietnam War movie, although South Korea did play quite an important role in the Vietnam War, fighting alongside the American troops and against communism. In a way, it is great to see a Vietnam movie that is not just about America vs. Communism. Being a modern film, Ghosts Of War keeps its hands fairly clean of any propaganda or political viewpoints about the reasons behind the war.
However, R-Point is far from being positive about war. The soldiers are very much tired of being soldiers and only volunteer for the mission because it will be a ticket home. Most of them are only in the army due to being drafted or to feed their families. Without giving too much away, there is also a strong thematic emphasis on ideas like the sins of the past. Even during war, evil deeds don’t go unpunished, and, in the army, nobody is innocent regardless of their motivations.
Unlike its western counterparts, such as Deathwatch, the setting and locations used for Ghosts Of War are absolutely breathtaking - although everything looks terrifying at night. There are some beautiful bamboo forests, ancient statues, and the outpost building itself, which really make you wish you had travelled more, as well as making the movie incredibly visually striking. At times, these beautiful surroundings act as an offset to the atmosphere of dread that dominates the soldiers, making the natural beauty foreboding as if tainted with the evils of war. Unlike American soldiers, the Korean forces are much more comfortable in the terrain and climate of Vietnam, and the way the surroundings are shot without the gloomy jungles, leaches and mud reflects this.
In addition to the sets, there is some excellent cinematography on display. The lighting, particularly on the night scenes, is really well done. There are some shots at night with heavy rain that look absolutely amazing. Director, Wong Su-chang, and his crew certainly have a good eye for style and flair, and it is perhaps this artistic direction that makes the film so successful at holding the audience on the edge of their seats, since there is so much more on offer than thrills and chills.
For any fan of Asian horror, Ghosts Of War is an absolute must - and sure to please. It has had huge success in its native country of South Korea, and when you see it, you can see why. It has enough suspense, tension, fear and paranoia to keep anyone awake for days. After watching Ghosts Of War, you will be left with no doubt in your mind that war is indeed hell, albeit good, scary fun! DOB
NEWS: DVD Release: Ghosts Of War
Available exclusively from Sainsbury’s.
From the writer-director of The Guard Post and Tell Me Something comes a film to make the blood run cold – before that blood starts to leak out! This acclaimed military horror, originally released as R-POINT on its domestic release, is the fourth highest-grossing Korean horror film of all time, which will chill and thrill you in equal measure, livening up the cold winter nights.
During the Vietnam War, a South Korean army base begins receiving mysterious radio transmissions from a patrol that went missing six months earlier.
A shell-shocked, hard-boiled lieutenant and a ragtag military unit are sent to the desolate stretch of land known as R-Point to gather clues as to the whereabouts of the missing soldiers.
What appeared to be clear search and rescue mission turns into something far more terrifying than any battle...
Film: Ghosts Of War
Release date: 17th January 2011
Certificate: 15
Running time: 101 mins
Director: Kong Su-chang
Starring: Kam Woo-Seung, Son Byung-ho, Oh Tae-kyung, Park Won-sang, Lee Seon-gyun
Genre: Action/Drama/Horror/Thriller/War
Studio: Palisades Tartan
Format: DVD
Country: South Korea
DVD Special Features:
• Production featurettes
• Audio commentary
• Trailer
REVIEW: Blu-ray Only Release: Infernal Affairs – The Complete Trilogy

Film: Infernal Affairs - The Complete Trilogy
Release date: 27th December 2010
Certificate: 15
Running time: 332 mins
Director: Andrew Lau & Alan Mak
Starring: Tony Leung, Andy Lau, Anthony Wong, Eric Tsang, Shawn Yue
Genre: Action/Crime/Drama/Mystery/Thriller
Studio: Palisades Tartan
Format: Blu-ray
Country: Hong Kong/China/Singapore
Infernal Affairs is Hong Kong’s most celebrated export. With awards galore in its native land, and cult attention over the ocean, the trilogy went on to inspire Martin Scorsese’s first Oscar triumph. With The Departed came a resounding success but it is Lau and Mak’s original where the betrayal, shifting allegiances and inner turmoil of the story was born. With a stunning vision of a Triad ridden Hong Kong, this was a true event in Asia, one that sadly many have passed up for its Hollywood counterpart.
Infernal Affairs (2002)
Chan Wing-Yan is part of triad boss Hon Sam’s prestigious collective. He is a hood who enforces the gang's multi-million pound dealings - and he is a police mole. Lau Kin Ming is a decorated member of the Hong Kong police force, his proven track record sees him climbing the police ladder of promotions and accolades - and he is a mole for Sam’s gang.
Tensions between the police and the triads grow when a drug raid goes wrong, and it becomes clear that both sides have an informer playing for the other team. Police superintendant Wong is Yan’s only allie in the police force, and the only man who knows of his true identity - he gives Yan the task of sniffing out Sam’s rat. Meanwhile, whilst balancing the trust of the triads, police and girlfriend Mary, Lau is instructed by Sam to discover which member of his team has been placed by the cops.
As suspicions rise and leads are followed, the two moles fight to preserve their hidden identities. As each side closes in on the truth, an urban battle between both sides of the law is coming dangerously closer to a bloody end...
Infernal Affairs II (2003)
The second instalment of the trilogy begins in 1991, nine years before the events of the original. Lau is a young member of Sam’s gang, preparing to join the police force, whilst Yan, a promising young trainee officer, has been kicked out of the academy for his triad family routes. Howver, he is contacted by Wong to become an undercover agent.
As the two become more involved with their covers, Yan is torn between his police duty and half-brother Hau, who is a triad. Hau’s time as boss is coming to an end as Sam, now an up and comer in the Ngai family, is climbing the ladder in the triad family, whilst working with Wong as an informant. Wong helps Sam as he considers him a mob boss he could control. Lau assists Sam’s rise whilst establishing himself in the force and harbouring secret feelings for Sam’s wife, Mary...
Infernal Affairs III (2003)
Following the deaths of Billy and Yan, Lau is under investigation and has been demoted in the police force. His reputation tarnished, he returns to Infernal Affairs with the knowledge that Sam had installed five moles in the division all along. He suspects SDI Yeung - and is determined to find him out.
Meanwhile, Lau’s impending divorce, fear of being uncovered, and guilt over the murder of Yan are catching up with him. Hallucinations lead him to question his sanity as he begins to feel Yans presence long after his demise...
Each film is a true genre piece, and its American influences are clear. The police/criminal relationship is played out with all the tactics and mind games of Michael Mann’s Heat, and the organised crime of the triads and the decade spanning narrative echo The Goodfather series and Goodfellas - you can imagine the filmmakers’ delight to hand the reigns to Scorsese, someone they have seemingly learnt a lot from.
Lovers of Scorsese’s stylish violence and ever memorable multi-head shot sequence will be less thrilled by killings accompanied by black-and-white, slow motion and haunting opera tones. However, whirring cameras, painful close-ups and the beautiful capture of Hong Kong and its skyscraper roof tops give the trilogy a fantastic spectacle. A lack of excessive violence and action is more than made up for by the installation of dramatic tension that is utterly engrossing.
This is due to writing of the highest quality that is acted with complete conviction by its talented cast. Andy Lau and Tony Leung Chiu Wai play the two moles with all the self-convolution, shame and denial that form the story’s most evocative theme. Mary is writing a novel about a man with twenty-eight faces - a look at a man who plays out so many different identities that he has lost his own true being. She notes, “I don’t know if he’s a good guy or a bad guy.” The two moles have spent so much time on the other side that they are losing touch with their allegiances.
Their connection is strong as they contrast each other’s situation. Yan exclaims, “You don’t know what it’s like to be undercover,” as Lau fakes a smile knowing he too has lost his identity. The tragedy of their rivalry is that they are the only two who know each other’s pain. They are by no means opposites, but they are ultimately living out each other’s lives. Yan is kicked out of the police academy and the instructors threaten, “Who wants to be next?” Lau replies under his breath, “I do.”
The second film sees Edison Chen and Shawn Yue reprise their roles as the young Lau and Yan. Unfortunately, the characters, which Lau and Wai made their own in the original, are considerably less convincing, as you are sometimes left struggling to relate them to their elder selves. The film does build on the relationship between Wong and Sam, and a scene at the beginning reveals Sam to be an informant to Wong. As Sam sits eating a police prepared meal, our memory takes us back to a far more hostile encounter between the two in the first film, which ends with Sam flinging his food aside in anger. Their friendship, mistrust and eventual rivalry is an absorbing layer to the story.
As a trilogy filled with sub-plots, flashbacks and red herrings, this film maintains a great consistency, whilst elaborations and reveals answer nagging questions from the first film satisfactorily, and offer new meaning to the characters’ actions.
The third film sees the introduction of Leon Lai as SP Yeung. The character is suspected by Lau of being another mole in the police department, thus ensues a battle of wits between the two. This rivalry never reaches the intensity or intrigue of Yan and Lau’s fight for discovery; attempting to re-create a rivalry between two undercover cops that was so riveting in the first film. This serves to emphasise that, despite the reprisal of Andy Lau and Tony Leung’s roles, the main battle of the trilogy is over. Lau and Yan both occupy different strands of the narrative, and their direct rivalry is sorely missed.
This film does, however, provide closure. With the demise of Yan, Sam, Shen and Wong in the threequel’s predecessors, we are shown the final downfall of Lau. For a character that shows such a personal struggle between good and bad, his loss of control and self educed death seems fitting, as well as tragic.
Truly an Asian giant. The first film alone is enough to make this trilogy a must-see, the second is a worthy accomplice and the third is, as genre dictates, a bit disappointing. With a complex insight in to lives of the undercover, there is enough powerful drama, cerebral pondering and complex characters to make this a classic of the crime genre. LW
NEWS: Blu-ray Only Release: Infernal Affairs – The Complete Trilogy
Following its HMV exclusive released in October, the Infernal Affairs Trilogy gets its Amazon UK exclusive release on 27th December 2010.
Spanning ten years, likened to The Godfather trilogy, this is the crime epic of our time. Infernal Affairs Trilogy remains a landmark of both Hong King cinema and international crime cinema.
Winning 29 awards and another 38 nominations across the three films, the emphasis on character and cat-and-mouse plotting over action marked this out from previous Hong Kong cinema, while the impeccable production quality showed the rest of the world that Hong Kong cinema could compete with the best blockbusters every other cinema had to offer. It remains as powerful and riveting today as it did on release.
Infernal Affairs
Ming and Yan live parallel lives; one is undercover in the Triads for the Police, the other is a mole in the police. Eventually their paths must cross…
Infernal Affairs II
We go back ten years to see their lives as they first were when they were initially recruited into their respective roles. Friendships fracture, foes join forces and nothing is as it seams.
Infernal Affairs III
Ten months after the first film we see Ming as he attempts to fit into the police force and slowly morphing into Yan as he has to come to terms with the life he has chosen.
Starring: Tony Leung (Hard Boiled, Hero), Andy Lau (House Of Flying Daggers, The Warlords), Anthony Wong (Exiled, Vengeance), Eric Tsang (An Empress And The Warriors, Bodyguards And Assassins), Shawn Yue (Dragon Tiger Gate, Invisible Target), Edison Chen (The Dark Knight, The Grudge 2), and Kelly Chen (Breaking News, An Empress And The Warriors).
Directed by: Andrew Lau (Legend Of The Fist: The Return Of Chen Zhen, Initial D) and Alan Mak (Overheard, Initial D).
Film: Infernal Affairs - The Complete Trilogy
Release date: 27th December 2010
Certificate: 15
Running time: 332 mins
Director: Andrew Lau & Alan Mak
Starring: Tony Leung, Andy Lau, Anthony Wong, Eric Tsang, Shawn Yue
Genre: Action/Crime/Drama/Mystery/Thriller
Studio: Palisades Tartan
Format: Blu-ray
Country: Hong Kong/China/Singapore
Blu-ray Special Features:
• Commentary
• Making of
• Trailer
• Confidential file
• Deleted scenes
REVIEW: DVD Release: Breath
Film: Breath
Release date: 26th July 2010
Certificate: 18
Running time: 84 mins
Director: Kim Ki-duk
Starring: Chen Chang, Gang In-Hyeong, Ha Jung-woo, Kim Ki-duk, Park Ji-a
Genre: Drama/Romance
Studio: Palisades Tartan
Format: DVD
Country: South Korea
This film was nominated for the 2007 Palm d’Or at the Cannes Film Festival and is directed by Kim Ki-duk, who was previously lauded for Spring, Summer, Fall, Winter...And Spring in 2003. It seems he can do no wrong.
Yeon is a depressed housewife, mechanically going through the motions of her day – entertaining her young daughter, listlessly seeing to the chores and, when her husband gets home, silently provoking him by wearing his lover’s hair clip, which she found in his car.
She becomes obsessed by a news story about convicted killer Jang Jin (Chang Chen), who has attempted suicide as he waits on death row for his sentence to be carried out. Her fixation grows partly out of empathy for his tormented state of mind, but also because she feels that she has experienced death herself during a childhood ‘prank’, and wants to reassure him that it is not actually a terrifying experience.
Yeon presents herself at the prison and manages to talk her way into seeing Jang Jin, and from this first encounter a strange relationship develops. Decorating the interview room with a seasonal theme each time, she sings to him and talks about her experience of death, and, as the meetings continue, a gentle kiss becomes a passionate one, a hug in one meeting becomes an embrace filled with desire, and it becomes clear that a love affair is blossoming – seemingly with the blessing of the prison’s director, who voyeuristically watches all the events unfold via CCTV.
The inevitable happens and Yeon’s husband finds out where she has been going, and in a final attempt to end the liason, he drives her to the prison for one more meeting with Jang Jin. As he and their child play in the snow outside the prison, the relationship that Yeon has nurtured so carefully comes to its dramatic conclusion…
This may not be regarded as Kim Ki-duk’s greatest work, but it certainly holds the viewer’s attention. At first the repetitive nature of events – Yeon goes to the prison, the meeting with Jang Jin takes place, she goes home to an unhappy marriage – threatens to become tedious, but this pattern nicely reflects the monotonous nature of prison life, and variety is, of course, added by the differences in each encounter, and the development of the affair between prisoner and visitor.
Park Ji-ah is compelling as Yeon, her moods directly reflecting the sombre subject matter, and the overall tone of the film, and the deepness of her unhappiness and her silences are amplified by the low key presentation generally – there is no music in the film apart from Yeon’s musical interludes. These interludes provide a moment of complete astonishment when, clad in a spring frock despite the bitter winter weather, she serenades Jang Jin in a tuneless but enthusiastic manner, and dances round the interview room. One is almost tempted to laugh, but because Park Ji-ah plays this scene in such a disingenuous way, the viewer is won over to her plan, however unlikely it may seem.
Chang Chen is equally convincing as Jang Jin, especially as he has no dialogue at all in the film. His performance begins as impassive and never becomes flamboyant; entirely reliant as the actor is on the subtleties of facial and body language to convey his mood. Strong supporting acting by his fellow inmates keeps the reality of his condition alive in the mind.
The film is full of coincidences and small details which add to the roundness and interest of the characters - not only does Yeon have to return to an unhappy home life, trapped in her domesticity as if in a prison, but Jang Jin must return to the reality of his situation after the escapism of those brief liaisons, and that includes the jealousy of his prison admirer, who is eventually instrumental in sealing Jang Jin’s fate.
This is a film which can be watched more than once and new questions will continue to be raised; but one needs to look beyond the surface to see the complexities.
If the mark of a good film is that after watching it one is prompted to seek out other works by the director, or any of the cast for that matter, then this definitely qualifies as such - there is also enough to please any fan of South Korean/East Asian cinema. GR
REVIEW: DVD Release: Visitor Q

Film: Visitor Q
Release date: 24th May 2004
Certificate: 18
Running time: 86 mins
Director: Takashi Miike
Starring: Ken'ichi Endô, Shungiku Uchida, Kazushi Watanabe, Jun Mutô, Fujiko
Genre: Comedy/Drama/Horror/Thriller
Studio: Palisades Tartan
Format: DVD
Country: Japan
Known throughout the world as one of the most controversial and prolific Japanese directors working today, Takeshi Miike has transcended the formulaic trappings of his earlier work to continually strive to subvert the conventions of cinematic narrative, while challenging what is deemed acceptable to be shown on screen. The very mention of Visitor Q is often met with a mixture of repulsion and curiosity, directly challenging the viewer to accept the warped logic, graphic violence and absurdist humour as it presents itself.
The film centres on a news reporter named Kiyoshi Yamazaki (Kenichi Endo) and his family as they try to make sense of their exaggeratedly dysfunctional household. Opening with a home-made video of father-daughter incestuous prostitution, the main theme of the film is established with the inter-title: “Have you ever f**ked your dad?”
The absolute destruction and disintegration of the stereotypical family unit is explored at length throughout the film. The mother, Keiko (Shungiku Echida), also works as a prostitute to fund her escalating heroin addiction. The son, Takuya (Jin Mutô), is severely bullied, channelling his aggression towards his mother, whom he mercilessly beats with a riding crop at every opportunity. A pseudo-documentary style is adopted, mirroring Kiyoshi’s former profession while allowing the viewer a candid, fly-on-the-wall look at this failing family.
The dysfunction is interrupted by the arrival of the titular Visitor (Kazushi Watanabe), an enigmatic stranger who announces his visitation by striking Kiyoshi over the head with a rock, shocking him, and the audience, into action. He then proceeds to accompany him home and inexplicably integrate himself into their family.
The narrative continues as Kiyoshi sets out to make a documentary about violence in Japanese youth, using his son’s humiliation as a subject. The Visitor records Kiyoshi recording his son as the violence unfolds around them, culminating in an act so unspeakable, it really has to be seen to be believed. The fallout of Kiyoshi’s breakdown, helped in no small part to the enigmatic Visitor’s role as a guardian angel of sorts, prompts the family to re-evaluate their domestic lives and assert their conventional roles in the most unconventional of ways…
Written by Miike’s sometime collaborator Itaru Era, the script is funny and smart. The combination of outright absurdity and comedy, coupled with the (sometimes overly) enthusiastic delivery of Endo, creates a surreal contrast to the subdued, dignified performance of Echida, as the matriarch struggling to hold everything together as her family self-destructs around her. Mutô, as Takuya, the bratty, obnoxious school boy also delivers a strong performance, especially as he is broken down and humiliated by his class-mates, expressing adolescent rebellion and inner-turmoil to great effect. It is easy to pity him, but easier to be appalled by his outbursts of anger. The key performance, however, comes from Watanabe’s Visitor. Not unlike Ichi The Killer’s Kakihara in screen presence and unhinged cool, Watanabe steals the show. With subtle, knowing glances and inappropriate smiles as Kiyoshi films the chaos around him, he manipulates the action and brilliantly commands the attention of both the on-screen family and the audience themselves.
Shot on an obviously low budget, using limited lighting (although to great effect, especially in the firework attack) and digital video, Visitor Q uses the idea of a documentary film-within-a-film to ensure that the production doesn’t feel cheap, while offering an overt sense of gritty realism to the satire. The mise-en-scene sets up the family home (where the majority of action takes place) as conventional and average. As the action unfolds, however, the set literally begins to fall apart, in an extremely effective (albeit obvious) technique used by Miike to draw parallels with the family’s disintegration.
It goes without saying that the film is disturbing, it is literally impossible not to baulk at certain scenes, but Miike uses this to implore the audience to sit up and take notice of his problems with Japanese culture. The absurdity lies in the use of sound. A comedic “pop” as Kiyoshi is detached from a defiled corpse, and a “whoosh” as he flies into action to defend his son signal the two most shocking scenes, goading the audience into a futile attempt to remain straight-faced. It is this union of comedy and extremely disturbing scenes that makes the film unique, and literally unlike anything you have ever seen before.
The narrative may seem confusing at first, but once conventional logic is abandoned, the message becomes clearer. It is a film that demands at least two viewings. The first to be disgusted, disturbed and amazed by the sheer audacity of what is being shown, and the second to establish the thinking behind the violence without the extra baggage of the unexpected.
Miike masterfully utilises the absurd to subvert the idea of family as the ultimate goal for society. A true original, Visitor Q is disgustingly brilliant, proving that scant regard for censorship and a no-holds-barred attitude to filmmaking can really affect an audience. Many will be put off by the film’s reputation as an obscene excuse for testing the boundaries of what can be shown on film, but beyond false preconceptions lays a challenging film with real heart and a strong message. RB
REVIEW: DVD Release: Fanny & Alexander

Film: Fanny & Alexander
Release date: 16th November 2009
Certificate: 15
Running time: 180 mins
Director: Ingmar Bergman
Starring: Pernilla Allwin, Bertil Guve, Börje Ahlstedt, Allan Edwall, Ewa Fröling
Genre: Drama/Fantasy/Mystery
Studio: Palisades Tartan
Format: DVD
Country: Sweden/France/West Germany
Ingmar Bergman’s family epic won numerous awards on release, including Best Foreign Language Film, Best Cinematography and Best Costume Design at the Academy Awards (though Bergman lost out on the Best Director Oscar for the third time in his career, this time to James L. Brooks). The film is also effectively Bergman’s goodbye to the world of cinema (as other than work in TV, he never directed another major feature).
In Fanny & Alexander, we follow the lives of an aristocratic Swedish family of eccentric actors over the course of two tragic years.
It is Christmas 1907, and we are introduced to the family as they gather to celebrate the festive season. All characters in the family are instantly likeable, and all are facing problems in their lives. There’s the family matriarch, the widowed grandmother Helena (Gun Wållgren), who is coming to terms with the fact that her life has passed her by, that she is old and alone, despite the fact that her former lover, the Jewish merchant Isak (Erland Josephson), still loves her dearly. There’s also Uncle Gustav (Jarl Kulle), a sad old goat seeking the affections of a pretty young servant of the family, Maj (Pernilla Wallgren) and Uncle Carl (Börje Ahlstedt) who’s severely in debt.
The two characters referred to in the title are brother and sister: Alexander (Bertil Guve) is a 10-year-old with an active imagination, and Fanny (Pernilla Allwin) his younger sister. Their lives are changed forever when their father Oscar (Allan Edwall) dies suddenly and their mother Emelie (Ewa Fröling) remarries a tyrannical bishop (Jan Malmsjö). The siblings are torn from their loving family’s embrace and forced to live with Bishop Vergerus’s fanatically zealous family. Both children (but especially Alexander) have to grow up fast and come to terms with their new situation...
Fanny & Alexander is a visually magnificent film. Long shots take in every aspect of the Ekdahl’s beautifully luxurious family mansion, and Isak’s crowded, atmospheric and mysterious antiques shop. The striking contrast between seasons is also shown vividly through the scenery – from the comforting Dickensian winter evenings in a Swedish city to the sharp and crisp spring morning at the Bishop’s country house by a waterfall. This contrast is also evident in the presentation of the families – The Ekdahls are cheerful, warm and loving, and treat their servants as part of the family, whereas the Vergerus family are stern, cold and distant, their servants living in constant fear of the bishop.
In truth, Fanny & Alexander is a film of contrasts – youth and adulthood, life and death, good and evil, religion and atheism, luxury and frugality, kindness and cruelty. It’s a film about a boy approaching puberty who has to come to terms with the death of his father and a complete change in lifestyle and surroundings, in addition to everything else a boy has to face at that age. This is where one of the film’s greatest strengths lies – in the solid central performance of the young Bertil Guve, who sadly did not choose to pursue a career in acting after this, his film debut. He has no trouble in making us believe in Alexander’s plight, and really brings across how Alexander matures throughout the film – a scene where he attempts to stand up to the severe Bishop in defiance is an undeniable highlight.
The film has the feel of a stage production about it (fittingly, as the plot concerns a family of actors) and has the runtime to reflect it – at three hours long, you may need an interval or two! This is not a problem in the scenes directly concerning the exploits of the wacky family, but, at times, the film can drag – there are only so many rambling monologues and literary quotations anyone can take. It’s also hard to take some of the stranger happenings in the plot (admittedly, it’s easier not to take some of the more fantastical events completely literally, that is, unless you believe in Jewish magic!). As already mentioned, it is a film of contrasts, but the contrast between believable family situations and weird religious fantasy can be a little jarring at points.
Bergman’s final big hit is epic in every sense of the word – it’s a beautiful looking film full of sterling character performances and with the big ideas and runtime to match! You might find parts a little dragged out and preachy, and sometimes the fantasy element is taken a little too far, but that should not ruin your enjoyment of this family saga that is full to the brim with heart. SSP
REVIEW: DVD Release: Time

Film: Time
Release date: 23rd August 2010
Certificate: 15
Running time: 97 mins
Director: Kim Ki-duk
Starring: Ha Jung-woo, Park Ji-yeon, Jang Jun-yeong, Jung Gyu-woon, Kim Ji-heon
Genre: Drama/Romance
Studio: Palisades Tartan
Format: DVD
Country: South Korea
Award-winning (Berlin and Venice Film Festivals for Samaritan Girl and 3-Iron respectively) Korean director Kim Ki-duk flirts with controversy once more as he invites his audience to examine a world of unhealthy obsession, narcissistic tendencies and the violence of manufactured beauty, in a film only screened in his homeland after 10,000 South Koreans signed up to an online protest, thus forcing a limited art house release.
Sehie (Park Ji-yeon) is a beautiful, yet extremely insecure and jealous woman, who feels that her long term relationship with Jiwoo (Ha Jung-woo) is growing stale. With each passing day she believes that her beauty is fading while the other women Jiwoo comes into contact with during his normal mundane life are more interesting and considerably better looking than her.
Despite her relatively contented boyfriend’s protests, she persists with her paranoid thoughts and accusations, verbally abusing waitresses and cafe customers at the local cafe, the couple’s regular meeting spot. From a mind bordering on the psychotic, an idea is hatched as Sehie realises that something drastic needs be done to stop the situation escalating to such a degree that she will lose the love of her life forever.
After secretively consulting with a plastic surgeon, Sehie books herself into a clinic and begins the painful six month procedure that will completely reshape her face and, hopefully, achieve a higher level of beauty. Jiwoo is distraught at her sudden disappearance, he devotes time and effort searching high and low for his girlfriend, but, eventually, he admits defeat. Gradually, as his pain lessens, he begins to date other women, yet, in the back of his mind, he can never quite let his desire for Sehie go.
Several months later, a mysterious new waitress calling herself Saehie (Seong Hyeon-ah) begins to work at his local cafe. There is an instant attraction, a strange familiarity that Jiwoo cannot explain - he is compelled to be with her, yet Sehie still haunts his thoughts...
Time is an atypical and somewhat curious film from a director known for pushing the envelope with bizarre characters, often on the wrong side of the law, and left of centre situations. In this case, the leads are the epitome of middle class, law-abiding Asia - they hang out in coffee bars, have normal jobs, run of the mill hobbies and, on the surface at least, aspirations for a mediocre life. There are no fantastic monsters or ‘outsiders’ on the edge of society to invoke the audience’s attention, instead Kim Ki-duk utilises the desires and fixations that swim behind the eyes of these seemingly conventional citizens.
Ki-duk briefly begins his story at the halfway point, where we witness gruesome and detailed face surgery, before jumping back in time to the psychological lead up to Sehie’s extreme solution for solving her insecurities. Initially, the director draws us in by skilfully orchestrating his main actors - all well on top of their game - through a maze of raw emotions that he hopes will justify his severe story arc. Unfortunately, it is this intense story arc that is the weak link and, ultimately, the movie’s downfall. We are asked to suspend belief as each new emotional outburst grows in intensity and, like the story’s nervous bystanders, we begin to feel increasingly uncomfortable and somewhat alienated by a plot, now, punctured with too many unacceptable coincidences.
The cinematography is on a par with Kim Ki-duk’s usual work - in fact, it is particularly reminiscent of his earlier films The Coast Guard and The Isle, in style rather than the far removed content. The latter being his most controversial film, in the UK at least, after its release was delayed due to accusations of animal cruelty on set. The director later admitted, and voiced regret for slicing open a live frog and mutilating several fish for particular scenes within that film.
Other positives are that Ki-duk utilises the scenery and vistas to great effect, his use of colour is, at times, exquisite, and even the background music, often a weak point, is fine. The dialogue, for the most part, is believable, if not the motives and reasoning behind the characters’ words. If his idea was to make us question our identity, who we are, and if true beauty is more than skin deep then this movie does just that, albeit going too far in its search for answers to these raised questions. In fact, if we accept the plot’s weak points, as huge as they are, there is still much to be enjoyed by watching these occasionally mesmerising characters attempt to fulfil their passionate and seemingly unattainable desires.
Time is an engaging little film with a plot that is as compelling as it is frustrating, and a ‘love it’ or ‘hate it’ ending, yet easily worth 97 minutes of anyone’s time. MG
REVIEW: DVD Release: Soldier Of Orange

Film: Soldier Of Orange
Release date: 16th August 2010
Certificate: 15
Running time: 149 mins
Director: Paul Verhoeven
Starring: Rutger Hauer, Jeroen Krabbe, Susan Penhaligon, Edward Fox, Derek de Lint
Genre: Adventure/Drama/Thriller/War
Studio: Palisades Tartan
Format: DVD
Country: Netherlands
Paul Verhoeven has always been a cynic, teetering on just the right side of violent nihilist. Robocop was a vicious satire on the police. Starship Troopers a vicious satire on the military. Soldier Of Orange is set during the Second World War, it would be forgivable to call it a vicious satire on war, but it's not. It's a relatively gentle (for Verhoeven) satire on life and friendship that is no less devastating in its critiques for that.
Eric Lanshof is attending a fresher party at university. During the ritual humiliation dished out by seniors, he is knocked unconscious by the union president Guus Lejeune. Later Guus apologises, and the two share digs and a group of friends - Robby, Nico, Alex, Jan and Jack. As war descends upon them unexpectedly, these seven men react in very different ways.
Robby sets up a secret transmitter. Nico becomes heavily involved in the Dutch Resistence. Eric and Guus both decide to escape to England. Jan and Jack try to sit out the war, while Alex, whose mother is German, becomes ever more seduced by the German army. After an aborted attempt to reach England, which leads to the capture and execution of the Jewish Jan, Eric and Guus finally escape, but Eric has been fed false information about a traitor, and almost shoots the wrong man.
As two of only a handful of Dutch escapees, Eric and Guus are introduced to the exiled queen Wilhelmina, and recruited into her plan to bring the leaders of the Dutch Resistance to England. The plan is complicated and the traitor strikes again. The resistance leaders, Nico and Robby are shot and killed and Guus executed.
Eric returns to England once more, and becomes a pilot in the RAF, before becoming the queen's aide. On her triumphant homecoming to a free Holland, Eric returns to his flat and finds Jack, the only other survivor of his friends…
Soldier Of Orange is a film that bears all the hallmarks of being unremarkable, and yet, by the end, has left you breathless. It has gained the tag ‘epic’ due to its sheer length, yet it does not deserve such a tag - epic films are those that deal in broad sweeps of history. The characters in Soldier Of Orange don't so much make history as stumble around events that they barely comprehend, and mostly end up getting killed for their trouble. Thus while the characters are at first unremarkable, the events small and every day, we are slowly brought into their world, bearing witness to their deaths and entrances, and most especially, their failures, until the end scene, which is understated, yet quite devastating. Eric, the hero, has returned home. As he opens the doors to a scene of mass jubilation of freedom, he is asked what he will do now. “I don't know,” he replies, instantly hollowing out the perception of heroism and forcing the viewer to face a reality of war, that warriors become defined by what they do, that they have no purpose other than to fight, and while the Nazi's needed to be fought, what then? That Verhoven can express so much with a single line, instantly smashing the perceptions of a broad sweep of history, of heroes and villains, of bravery and cowardice, indicates the full power inherent in this film.
Verhoven is painting in shades of grey, his camera is a pure eye of realism, and he doesn't falter when covering his characters mistakes and failures, which are many. Indeed, Eric's RAF career, where he is successful, is barely covered. Verhoven isn't interested in it. He knows that heroes are created by how they face their mistakes, not how they celebrate their successes. Eric and Guus run a disastrous mission that ends up with most of the group dead. As Eric realises the danger and tries to save the mission, he puts himself in greater and greater danger, until, in a staggering scene, he finally finds himself literally dancing with his old friend Alex, now a fully fledged Nazi, and having to bluff his way past someone who knows almost everything about him.
The image of Guus escaping across the beach is unforgettable cinema in a film filled with memorable moments. Guus later guns down the traitor in broad daylight, and is immediately caught and then executed. By this point, we have almost forgotten that Guus sadistically humiliated Eric on their first meeting. Verhoven does not judge, however, his camera is simply there to record journeys. We sympathise with Alex, Jack, Robby and Esther, his wife, because we know why they do the things they do.
But this film could not have succeeded without its cast, all of whom are outstanding, but, of course, Rutger Hauer as Eric gives one of the great film performances. Hauer is a very difficult actor to film because he has such a gigantic presence on screen that he can often be allowed to dominate the camera, without even intending to. When he is onscreen, it's difficult to remember that other actors are around him. Some directors exploit this; others aren't good enough to control it. Verhoven, perhaps uniquely, manages to keep Hauer as part of a talented ensemble, and, in so doing, brings out shining performances.
Every major character is unforgettable, filmed beautifully, acted perfectly, and with understatement. We watch them grow and flower, whether as heroes, cowards or Nazis. We understand their justification, whether or not we accept it. Esther, who has turned a blind eye to the obvious, says, “I survived.” Esther is Jewish. Jan, the other Jewish character, did not survive. The audience do not need telling the obvious. How many of us would make the same decisions? These are real people we are watching.
Soldier Of Orange is a film made by a director at the height of his powers. The script, cinematography, direction and acting are all beyond compare, and sent Hauer and Verhoven to Hollywood. A masterpiece of European and war cinema, this is essential viewing, not just to cineastes, but to everyone. Unflinching and real. PE
REVIEW: DVD Release: Silent Light

Film: Silent Light
Release date: 23rd August 2010
Certificate: 15
Running time: 136 mins
Director: Carlos Reygadas
Starring: Elizabeth Fehr, Cornelio Wall, Miriam Toews, Maria Pankratz, Jacabo Klassen
Genre: Drama
Studio: Palisades Tartan
Format: DVD
Country: Mexico/France/Netherlands/Germany
Carlos Reygadas’ multi award-winning picture has found worldwide critical acclaim and can count Martin Scorsese, who described it as “a surprising picture, and a very moving one as well,” amongst its admirers. The film deals with immediate impact that an affair has on a family, as well as the deeper moral implications that choosing one partner over another can have.
Silent Light tells the story of Johan (Cornelio Wall), a Russian Mennonite living in Mexico with his wife Esther (Miriam Toews) and their children.
From the beginning of the film, it is apparent that there is a tension between Johan and Esther, and we soon learn that Johan has been conducting an affair with a woman named Marianne.
Johan is a deeply religious man, but his faith in God is called into question as he begins to wonder whether it is morally correct to stay with Esther and honour his wedding vows, or to follow his heart and be with Marianne, who is better suited for him, and for whom he has deeper feelings of love.
Torn between his love for his family and his love for Marianne, as the story develops, we discover that it is not only Johan who is so deeply affected by his dilemma…
What is initially so striking about Silent Light is its subtlety. In the opening moments, we see a sky gradually turn from night to morning, as the sun crawls up from beyond the horizon. These opening shots provide some insight into what makes Silent Light such a beautifully visual piece of cinema - Reygadas’ use of natural environments means every shot is rich with stunning Mexican countryside; its harsh, uncontrollable wildness mirroring the feelings that penetrate each of the main characters’ thoughts. The cinematography is stunning, with each shot carefully considered and effective.
To frame a film with such deliberate and apparent symmetry can often lead to the world of the film seeming unreal, but Reygades manages to create several shots in which the focal point is perfectly centred without seeming contrived, adding to the aesthetic beauty of his piece rather than detracting from it.
The camera is not used simply to create a visual work of art, however, as it also expresses feelings which the characters clearly struggle with, such as a conversation between Johan and his father in which neither man can look the other in the eye. In a film with so little dialogue, such moments are vital insights into what the characters are feeling.
The camera is also used to instil in the viewer the general feeling of awkwardness that surrounds the film, and shots will often last just slightly longer than we feel they should in order to make us feel uncomfortably voyeuristic. This can be seen at the beginning of the film, when a shot of Johan crying seems to go on for a very long time; or in a kiss between Johan and Marianne, which not only defies filmic conventions in the length of time it is afforded on screen, but in its strange passionlessness.
Subtlety is key not only to the success of Silent Light as a visual piece, but to its storyline as well. With subject matter such as this, the possibility of dialogue lapsing into the melodramatic always remains and this is something Reygadas is keenly aware of. In many scenes, characters say very little to one another, and the hurt that Johan causes his wife is felt, for the most part, as a haunting presence which affects her very soul, sapping any energy and rigour from her, and transforming her into a shell of a woman. This actually proves to be more affecting than if she reacted angrily or with violence.
The uniqueness of Esther’s reaction is suggestive of the uniqueness of their situation as, unlike most films which centre around an affair, Johan is completely open about his transgressions, letting his wife know each time he has been unfaithful. This leads to several heart rendering moments when the viewer cannot help but sympathise with Esther, such as a scene when they are giving one of their children a bath and Johan tells her that she is always good at making the soap that they use, which leads to Esther almost breaking into tears. It is in moments like this that Silent Light is at its most emotionally resonant, displaying how simple, everyday events become so irreversibly transformed when a wife’s faith in her husband is lost.
The only drawback of Reygadas’ refusal to ever allow his characters to raise their voices or express themselves emotionally is that this can occasionally lead to a detachment from what is happening, and cause us to feel strangely unaffected at what would seem to be critical moments in the film’s development. However, this possible stylistic flaw can be overlooked, as it is his avoidance of the sensational for the majority of the film that makes the ending one of the most surprising and powerful moments of any film in the last few years, one that immediately makes Silent Light demand to be seen again.
Beautifully shot and exquisitely framed, Silent Light is a visual masterpiece, one which is also ripe with subtle and touching displays of the pain and confusion of infidelity. The story may seem to drag towards the closing moments, but it is more than worth persevering with to feel the impact of its sensational ending. PK
REVIEW: DVD Release: Cave Of The Yellow Dog

Film: Cave Of The Yellow Dog
Release date: 5th July 2010
Certificate: U
Running time: 93 mins
Director: Byambasuren Davaa
Starring: Batchuluun Urjindorj, Buyandulam Daramdadi, Nansal Batchuluun, Nansalmaa Batchuluun, Babbayar Batchuluun
Genre: Drama
Studio: Palisades Tartan
Format: DVD
Country: Germany/Mongolia
The director of The Story Of The Weeping Camel takes a different look at life in the Mongolian wilderness, having previously followed a family of nomadic shepherds and their camels to award-winning success.
Meet the Batchuluuns. They’re outdoor types - which is just as well, as they lead a nomadic existence as livestock farmers in the mountains of western Mongolia. There’s father and mother and their three young children – and, yes, there will soon be a dog.
The eldest daughter, Nansal, returns to the family yurt, from her urban boarding school, to much parental anguish. Wolves have killed two of their precious sheep and, from talking to other farmers in the area, it’s clear to the family this is an ongoing threat. With an increasing number of farmers moving to the towns in search of a ‘better’ life, there are fewer and fewer people to keep watch over any sheep. Suffice to say that Mr and Mrs Batchuluun are concerned about the future.
So, father is not best pleased when Nansal returns from a fuel-gathering trip one day with a small white dog in tow. She names him Zochor (Spot) – how comforting that dogs’ names, at least, cross cultural boundaries. “It has probably lived with wolves and will either kill our sheep or lead the wolves right to them,” says father. Heading off to town on his motorbike, to sell the skins of the two sheep, he makes it clear to Nansal he wants the dog gone by the time he returns.
Nansal, however, is not so easily persuaded – already it’s clear she’s a tough, smart, determined kid, growing up with an insatiable curiosity about the world around her. Out tending the herd one day on horseback – just one of many ‘adult’ responsibilities she must undertake from an early age – she is distracted, loses Zochor and gets lost herself searching for him. Finding Zochor just as its getting dark, with a storm breaking, she takes refuge with her grandmother in her yurt.
Her grandmother tells Nansal about the legend of the Cave Of The Yellow Dog. Suitably impressed, Nansal is finally reunited with her anxious mother who has come out looking for her in the darkness. Along with relief, we’re left with the feeling that it can’t be easy keeping your eye on your children in a playground that extends hundreds of miles into the wilderness…
What follows these early scenes is an extraordinary insight into the lives of this resourceful, loving family. Their very existence brings new meaning to the phrase ‘sustainable living’. Every day they must battle the elements, gather fuel, guard the sheep and themselves from wolves and vultures, create food from what they have around them (there’s an impressive lesson in cheese making from mother) and knock up the odd dress from scratch on the sewing machine. And then, of course, there’s the changing seasons – which means moving to new grazing areas. The dismantling of the yurt is a fascinating process – as is the packing of all their worldly goods onto oxen carts (and with three children, a house and a herd to take with them, they don’t travel light), and the heading off, literally, to pastures new.
But life’s not all uphill – there are many heartwarming moments between parents and offspring. Mother in particular seems keen on bestowing some philosophical wisdom on her eldest. “Stretch out your palm tight in front of you and try and bite it,” is one bit of curious advice she gives the child while slicing cheese one day. “I can’t!” protests Nansal. “There you are, then,” replies her mother. “Even when things are right in front of us, we can’t always have them.” With her grandmother, Nansal is curious about reincarnation. “Could I come back as a child?” she asks her. “See those grains of rice falling into the pot?” comes the reply, “try and land one on the tip of that needle.” Failing the impossible task, Nansal is advised “And that’s how hard it is to come back as a child.” Between her mother and her grandmother, young Nansal has a lot of wisdom to digest.
Whether or not you’ve seen Weeping Camel, this story stands proudly as a parable of life’s possibilities and limitations, and how we must all come to terms with them – wherever we live. Yes, the plot is fictional but the family – and their environment – is real. Nansal’s natural performance is particularly impressive at such a young age – her resourcefulness and charm bestow an irresistible screen presence. And, for their part, the parents contribute a nicely judged supporting role, revealing just what it takes to bring up a family in the wilderness. And the dog? Oh, yes, he’s cute. You can see why Nansal wants to keep him.
A delightful, fascinating and thoughtful docu-drama that will stay with you long after those dramatic mountain scenes have faded from view. CS
Meet the Batchuluuns. They’re outdoor types - which is just as well, as they lead a nomadic existence as livestock farmers in the mountains of western Mongolia. There’s father and mother and their three young children – and, yes, there will soon be a dog.
The eldest daughter, Nansal, returns to the family yurt, from her urban boarding school, to much parental anguish. Wolves have killed two of their precious sheep and, from talking to other farmers in the area, it’s clear to the family this is an ongoing threat. With an increasing number of farmers moving to the towns in search of a ‘better’ life, there are fewer and fewer people to keep watch over any sheep. Suffice to say that Mr and Mrs Batchuluun are concerned about the future.
So, father is not best pleased when Nansal returns from a fuel-gathering trip one day with a small white dog in tow. She names him Zochor (Spot) – how comforting that dogs’ names, at least, cross cultural boundaries. “It has probably lived with wolves and will either kill our sheep or lead the wolves right to them,” says father. Heading off to town on his motorbike, to sell the skins of the two sheep, he makes it clear to Nansal he wants the dog gone by the time he returns.
Nansal, however, is not so easily persuaded – already it’s clear she’s a tough, smart, determined kid, growing up with an insatiable curiosity about the world around her. Out tending the herd one day on horseback – just one of many ‘adult’ responsibilities she must undertake from an early age – she is distracted, loses Zochor and gets lost herself searching for him. Finding Zochor just as its getting dark, with a storm breaking, she takes refuge with her grandmother in her yurt.
Her grandmother tells Nansal about the legend of the Cave Of The Yellow Dog. Suitably impressed, Nansal is finally reunited with her anxious mother who has come out looking for her in the darkness. Along with relief, we’re left with the feeling that it can’t be easy keeping your eye on your children in a playground that extends hundreds of miles into the wilderness…
What follows these early scenes is an extraordinary insight into the lives of this resourceful, loving family. Their very existence brings new meaning to the phrase ‘sustainable living’. Every day they must battle the elements, gather fuel, guard the sheep and themselves from wolves and vultures, create food from what they have around them (there’s an impressive lesson in cheese making from mother) and knock up the odd dress from scratch on the sewing machine. And then, of course, there’s the changing seasons – which means moving to new grazing areas. The dismantling of the yurt is a fascinating process – as is the packing of all their worldly goods onto oxen carts (and with three children, a house and a herd to take with them, they don’t travel light), and the heading off, literally, to pastures new.
But life’s not all uphill – there are many heartwarming moments between parents and offspring. Mother in particular seems keen on bestowing some philosophical wisdom on her eldest. “Stretch out your palm tight in front of you and try and bite it,” is one bit of curious advice she gives the child while slicing cheese one day. “I can’t!” protests Nansal. “There you are, then,” replies her mother. “Even when things are right in front of us, we can’t always have them.” With her grandmother, Nansal is curious about reincarnation. “Could I come back as a child?” she asks her. “See those grains of rice falling into the pot?” comes the reply, “try and land one on the tip of that needle.” Failing the impossible task, Nansal is advised “And that’s how hard it is to come back as a child.” Between her mother and her grandmother, young Nansal has a lot of wisdom to digest.
Whether or not you’ve seen Weeping Camel, this story stands proudly as a parable of life’s possibilities and limitations, and how we must all come to terms with them – wherever we live. Yes, the plot is fictional but the family – and their environment – is real. Nansal’s natural performance is particularly impressive at such a young age – her resourcefulness and charm bestow an irresistible screen presence. And, for their part, the parents contribute a nicely judged supporting role, revealing just what it takes to bring up a family in the wilderness. And the dog? Oh, yes, he’s cute. You can see why Nansal wants to keep him.
A delightful, fascinating and thoughtful docu-drama that will stay with you long after those dramatic mountain scenes have faded from view. CS
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